The Wounded Angel takes you on a journey through the life of a boy who acts much older than he is. And he has good reason to, from working jobs to help the family get by to smoking, he acts more like a middle aged man enough that he wants everyone to forget he is a kid. His portrayal is evenhanded and nuanced, bringing a lot of genuineness to the experience. The scenery is unique and rich. A real treat to watch.
There's little I could add that would not repeat most of the praise already given here. Haunting yes. The Wounded Angel sequence deeply disturbing. The final scene a glimmer of hope but then I remember the young man in the final segment revealing the fates of the other boys and realize how false that hope will turn out to be.
The stark atmosphere of TWA is built upon post-industrial (even post-apocalyptic) landscapes, the pace intentionally slow and arduous, the parallel storylines bizarre and wonderful. Thematically, it deals with loss but more so of coping. An extra star for its brooding and lovely cinematography (kudos to Cape and Baigazin).
Interesting vision of the landscape left behind the imploding of an old Soviet Union seen through the eyes of children in one of those republics now trudging through harsh lands in search of an identity. The aftermath is arid and bitter for many, there is a level of confusion and shock while trying to collect the pieces and make sense of it all for societies now disenfranchised and wandering through no man's land.
Four stories full of symbolisms and ancestral references poetically woven together and beautifully shot on breathtaking almost lunar looking landscapes of the Kazhakistan's steppe. The photography is magistral and the whole movie is visually superb. I really really loved it.
The Wounded Angel by Emir Baighazin is a 2016 pos-soviet movie taking place in war-torn Kazakhstan that attempts to follow 4 teenagers and their struggle to keep their families together. While each boy has their own story, none seem to feel connected as a cohesive narrative. Numerous still-shots and moments of silence make this movie drawn out as each disconnected story line is pieced together by the audience.
(4.5 stars) Beautiful visual storytelling. Wonderfully shot with such great camerawork and framing. Gorgeous pictures and directing. Which is such a juxtaposition to the depressing subject matter. Desolation and destruction of country and souls. Four separate teens must fight to overcome huge odds and reclaim their inner strength of heart. It's a beautiful film.
The balance between minimalism and symbolism is well struck in the first two stories, whose bare, direct style held my attention. The post-apocalyptic third loses its way in the mines, becoming something more portentously grotesque, while the last stifles Svankmajer by withholding its implied visual conclusion. The four teenagers face their spiritual destinies with tragic gravity, mothers grieving in the background.
Congratulations to Emir Baigazin for this hypnotically beautiful, strange and ultimately moving film which depicts unsettling loneliness, despair, and madness in a bombed-out steppe location - with four boys in an isolated world unable to deal with the life that they have been given.The singing of Gounod's Ave Maria gives us and them the hope, the salvation to keep living. A small masterwork the world should see.